Big-city lawyer Hank Palmer returns to his childhood home where his father, the town's judge, is suspected of murder. Hank sets out to discover the truth and, along the way, reconnects with his estranged family.
Robert Downey Jr.,
Tale of the passions and perils of love in all its forms. Five unique short films that focus on the lives of a group of beautiful yet troubled twenty-somethings, this compilation explores ... See full summary »
Turning her back on her wealthy, established family, Diane Arbus falls in love with Lionel Sweeney, an enigmatic mentor who introduces Arbus to the marginalized people who help her become one of the most revered photographers of the twentieth century.
Robert Downey Jr.,
Friends for ten years, a group of twenty-somethings head for the ski slopes as guests of Ian's father. (Ian and dad are estranged because dad worked too many hours when Ian was a lad.) Dad ... See full summary »
In 2005, the only thing hurting Los Angeles Times columnist Steve Lopez more than his face from a recent bike accident was his pressing need for story ideas. That is when he discovers Nathaniel Ayers, a mentally ill, homeless street musician who possesses extraordinary talent, even through his half-broken instruments. Inspired by his story, Lopez writes an acclaimed series of articles about Ayers and attempts to do more to help both him and the rest of the underclass of LA have a better life. However, Lopez's good intentions run headlong in the hard realities of the strength of Ayers' personal demons and the larger social injustices facing the homeless. Regardless, Lopez and Ayers must find a way to conquer their deepest anxieties and frustrations to hope for a brighter future for both of them.Written by
Kenneth Chisholm (firstname.lastname@example.org)
Lorraine Toussaint (who played Mr. Ayers' mother), LisaGay Hamilton (who played Mr. Ayers' sister Jennifer), and Nelsan Ellis (who played L.A.M.P. Director David Carter) are all real-life graduates of The Juilliard School's Drama Division. Mr. Ayers was a student in their prestigious Music Division. See more »
When Lopez pulls over in the tunnel after spotting Ayers, his car blocks the right lane. In subsequent shots, cars are seen in the background cruising through that very same lane, one even merges into it, even though Lopez's car is blocking it just a few yards ahead. See more »
[greeting his co-workers]
Buen dia, muchachos.
"Points West" by Steve Lopez. A construction worker in Griffith Park heard the
[swerving his bicycle to avoid a raccoon]
He saw a cyclist cartwheel off his bike and slam face-first into the unforgiving asphalt of Riverside Drive.
See more »
At the end of the credits, the music concludes with the sound of a cassette tape grinding to a stop, referencing Lopez's omnipresent recorder. See more »
Can The Circle Be Unbroken
Written by Ada R. Habershon and Charles Gabriel, often attributed to A.P. Carter
Performed by The Carter Family (as The Original Carter Family)
Courtesy of Columbia Records
By Arrangement with Sony BMG Music Entertainment See more »
What makes this film watchable is that it is based on a true story. A caring Los Angeles reporter named Steve Lopez (Robert Downey, Jr.) tries to help a homeless man named Nathaniel Anthony Ayers (Jamie Foxx).
Ayers suffers from paranoid schizophrenia. But he once attended Julliard, and he still lives and breathes the music of Beethoven. Ayers, with his shopping cart of possessions, walks the streets, playing his violin amid the noise of the freeway. He's content, in his own world.
That unusual behavior grabs the attention of Lopez, no doubt as a human interest story for his own column. But as Lopez gradually becomes more genuinely concerned about Ayers, their relationship encounters frustration, anger, and emotional pain.
It's a poignant, gritty story, full of realism. The film manages to be compassionate without being patronizing. The film does a terrific job in portraying the harsh, depressing reality of the boarders who live at a large shelter where Ayers goes, at the insistence of Lopez.
Technical elements of the film are good. The visuals are thematically impressive. Production design and costumes are detailed and realistic. Acting is credible. Robert Downey, Jr. gives a fine performance.
The main problem is the plot. Too much time is spent on Lopez and his trivialities. Somehow, the compelling Ayers story morphs into a weighty examination of Lopez and his distress in dealing with Ayers. The script is to blame here. I think if the main character had been Ayers, instead of Lopez, the film could have been quite inspiring.
Even so, the film clearly calls attention to the plight of the urban homeless. As such, the film deserves viewer support.
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